In this discussion I respond to some of the criticisms raised by Béatrice Longuenesse and Hannah Ginsborg to my account of Kant's aesthetic theory presents in Kant's Theory of Taste.

Drawing on resources from both the Analytical and Continental traditions, Form and World argues that a comprehension of Kant's aesthetics is necessary for grasping the scope and force of his epistemology. Fiona Hughes draws on phenomenological and aesthetic resources to bring out the continuing relevance of Kant's project. One of the difficulties faced in reading the Critique of Pure Reason is finding a way of reading the text as one continuous discussion. This book offers a reading at each stage of (...) Kant's epistemological argument, showing how various elements of Kant's argument, often thought of as extraneous or indefensible, can be integrated. This incisive study, arguing for the centrality of aesthetics in philosophy, and within experience in general, challenges a blind spot in the Anglo-American tradition of philosophy and will contribute to a growing interest in the general significance of aesthetic culture. (shrink)

When I began working on my dissertation on Kant’s aesthetic theory in 1971, I was able to read virtually all of the extant literature on the Critique of Judgment in English, German, andFrench going back to Hermann Cohen’s Kants Begr¨undung der A¨ sthetik of 1889, while also reading most of what I wanted to read of eighteenth-century British and German aesthetics before Kant—not because I had paid my dues to Evelyn Wood, but just because there was not all that much (...) to read.1 I pity the graduate student who sets out to write a dissertation on the third Critique now: since Donald Crawford, Francis Coleman, Jens Kulenkampff, Eva Schaper, and I published books on Kant’s aesthetics between 1974 and 1979 there has been a continuing flood of articles (this journal receives more submissions on Kant’s aesthetics annually than on any other historical topic) and books, a flood that has only accelerated since 2000. Confining myself only to monographs and anthologies on Kant’s aesthetics or the third Critique as a whole (but not those devoted exclusively to teleology) in English, German, and French on my shelves, and no doubt missing some, at least in German and French, I find twenty-eight monographs and anthologies published in the period between 1980 and 1999 and another twenty-seven just since 2000. (Indeed, two more have arrived on my desk since this article was written.)3 Someone setting out to work on the third Critique now has at least as many books from the last decade alone to read as I had in 1971 from the eight preceding decades. The present review will make only a small dent in this pile: I will discuss just five monographs and one introduction to the third Critique, all published in English in 2006 and 2007. (shrink)

The primary task confronting an examination of the claimed connection between Kant's general theory of cognition and his account of aesthetic judgment requires clarifying perhaps the most obscure component of that account, the doctrine of the harmony of the faculties. Kant's presentation of this doctrine makes it notoriously difficult to penetrate. Much of what Kant says about the harmony of the faculties – perhaps the very phrase “the harmony of the faculties” – is rather imprecise and metaphorical. Yet, the importance (...) of a correct understanding of the harmony of the faculties to assessing both the merits of Kant's aesthetic theory and his claims for the epistemological significance of reflection is difficult to overstate, for it is precisely this state of harmony that ultimately grounds the validity of judgments of taste and does so in virtue of being a state in which the most general prerequisites to conceptual judgment are present. (shrink)

überall einen richtigen Gebrauch der reinen Vernunft giebt, in welchem Fall es auch einen Canon derselben geben muß, so wird dieser nicht den speculativen, sondernden pr.ntischen Vernunftgebrauch betreffen, den wir also iezt ...

A discussion of Kant's aesthetics and their place in the philosopher's theory offers a new interpretation of Kant's writings on the nature of the beautiful.

I point out some unclarities in Allison's interpretation of Kant's aesthetic theory, specifically in his account of the free play of the faculties. I argue that there is a tension between Allison's commitment to the intentionality of the pleasure involved in a judgment of beauty, and his view that the pleasure is distinct from the judgment, and I claim that the tension should be resolved by rejecting the latter view. I conclude by addressing Allison's objection that my own view fails (...) to accommodate judgments of non-beauty or ugliness. (shrink)